1. Introduction Ce numéro spécial dédié aux corpus d’ancien et moyen français, à leur constitution et à leur exploitation, vient après bien d’autres numéros de revues présentantl’usage des corpus en linguistique depuis une dizaine d’années. Mais celui-ci est spécifiquement consacré aux corpus concernant les périodes les plus anciennes de la langue, c’est-à-dire aux formes et pratiques linguistiques qui sont les plus différentes de ce que connaît et pratique le locuteur moderne, et pour lesque..

1. Introduction Ce numéro spécial dédié aux corpus d’ancien et moyen français, à leur constitution et à leur exploitation, vient après bien d’autres numéros de revues présentantl’usage des corpus en linguistique depuis une dizaine d’années. Mais celui-ci est spécifiquement consacré aux corpus concernant les périodes les plus anciennes de la langue, c’est-à-dire aux formes et pratiques linguistiques qui sont les plus différentes de ce que connaît et pratique le locuteur moderne, et pour lesque...

On the art of perjury: the “ambiguous oaths” in the first French Novels. Every language possesses the elements intended to assert that what one says the truth, and specifically, formulas to take an oath. But the solemn oath is an act: perjury is punished as a crime. In medieval French, the linguistic formula of the oath is now well described: it is si m'aït Dieux (/se Dieus m'aït), always linked to a second utterance: in this binary structure, the first utterance (...) asserts the truth of the second one. Besides the linguistic constraints, the solemn oath requires a very precise gestural and social ritual: formula uttered aloud, hand laid on relics or on a manuscript of the Gospel, presence of witnesses and guarantors. This ceremonial is known by some juridical treatises (the Coutumes de Beauvaisis of Philippe de Beaumanoir, principally), but above all by some texts of fiction in French, novels or “chansons de geste”, which present juridical oaths.These fictional “solemn oaths” are caracterised by the fact that all of them are “ambiguous oaths”, and that the reader perceives them all, in some respects, as perjuries. Among the oldest texts of French literature, four texts, all written at the end of the XIIth century, show a process with an oath taken by the defendant or his champion: the Roman de Tristan of Béroul, the Chevalier de la charrette of Chrétien de Troyes, the “Branche I” of the Roman de Renart, and Ami et Amile. In the four instances, the process is about a woman's virtue: the oath is necessary to clear of suspicion a woman charged with adultery (queen Yseut, queen Guenièvre, Hersent the wolf) or impurity (Emperor Charlemagne's daughter); in the four instances, the question of truth is linked to the essential question of the purity of the lineage. But above all, in all the instances the oath can take place, with sometimes an ordeal or a judicial fight following it, and the woman charged is declared innocent, therefore chaste: but it is never the case. And yet these oaths are never really false oaths: “ambiguous oaths” rather. The logical and linguistic means by which the ambiguity is built up will be described: it plays, in all the instances, on a double reference.Literary texts do not show real perjuries: the oath scenes appear rather as presentations of the art of lying innocently, or to tell the truth while transfering one of the elements of the proposition. It is the awareness that truth is a linguistic matter, a purely linguistic matter, which is represented. (shrink)